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Rembrandt or studio of Rembrandt

Old man in an interior with winding staircase, 1632 gedateerd
Paris, Musée du Louvre, inv./cat.nr. 1740
<a class="recordlink artists" href="/explore/artists/66219" title="Rembrandt"><span class="text">Rembrandt</span></a> or studio of <a class="recordlink artists" href="/explore/artists/66219" title="Rembrandt"><span class="text">Rembrandt</span></a> <a class="recordlink artists" href="/explore/artists/66219" title="Rembrandt"><span class="text">Rembrandt</span></a> or studio of <a class="recordlink artists" href="/explore/artists/66219" title="Rembrandt"><span class="text">Rembrandt</span></a> <a class="recordlink artists" href="/explore/artists/66219" title="Rembrandt"><span class="text">Rembrandt</span></a> or studio of <a class="recordlink artists" href="/explore/artists/66219" title="Rembrandt"><span class="text">Rembrandt</span></a>
provenance
whereabouts
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Object information
Object category
painting
Physical connection
Reference in ‘composite artworks’: artworks that are/were connected, such as alterpieces, decorative pieces incorporated in panelling, and works of art that were intended to be displayed together, such as pendants and series.

pendant

It has been thought that this painting was the companion piece of the "Old man in an interior with winding staircase" from the Musée du Louvre. Since 1748 the paintings have been considered as pendants and were bought and sold as such. Nowadays art historians differ in opinion about the issue. The members of the RRP do not consider both paintings as pendants (Corpus of Rembrandt Paintings 1982-, vol. 2 (1986), no. C51). However, Foucart mentiones the possibility that the paintings are pendants (Foucart 2009, p. 213).
Support/medium
panel (oak), oil paint
Shape/dimensions
rectangle (landscape format) 28,2 x 34,4 cm
Signature/inscription
Information about the signature, dating, inscription or any other mark on the front or back of the art work
Current attribution
Rembrandt
or studio of Rembrandt
In the art-historical literature there were no doubts about Rembrandt's authorship of the painting until 1986. In that year the members of the RRP regarded the painting as a work from the studio of Rembrandt (Corpus of Rembrandt Paintings 1982-, vol. 2 (1986), no. C51). However, Foucart remained convinced it was an autograph work by Rembrandt (Foucart 2009, p. 213). After studying a new infrared photograph of the painting in 2011 the members of the RRP reconsidered their earlier attribution and stated that the photograph "does give sufficient insight into its technique, execution and quality to raise afresh the possibility of its authenticity" (Corpus of Rembrandt Paintings 1982-. vol. 5 (2011), p. 196-197). In the last volume of the Corpus, the painting is listed as by Rembrandt (Corpus of Rembrandt Paintings 1982-, vol. 6 (2015), no. 86).
Date
Exact or approximate dating of the described art work; the search parameters adopted for this art work in this database, are found in brackets.
dated 1632 (1632)
The date has also been read as 1631 or 1633 (Foucart 2009, p. 213).
Artistically related
Artistically related to other work
Such as a preparatory studie, comparable composition, other version, or copy of the artwork in this record.
Provenance
Exhibitions and literature
Visual documentation
Technical documentation
The RKD manages a collection of technical documentation that has been given to us by external researchers and museums or which stems from the RKD's own research with infrared reflectography. Documentation can be accessed by appointment at the RKD. While not all technical documentation has been entered in the database at present, new data is added on a regular basis.
Entered on: 2011-06-14; Last modification: 2018-05-02

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